Cannes Film Festival
Against the backdrop of one of the most serious economic crises the world has ever known, the 62nd annual Cannes Film Festival has come to a close on Sunday. This year’s festival was slated to be more austere than in year’s past, and that prediction proved true. There were fewer journalists — a third less by some estimates — and a far smaller Hollywood presence: No Vanity Fair party, fewer and smaller parties, and far fewer distributors in the marché.
Cannes Film Festival
As the Cannes Film Festival winds down amidst some of the hottest weather yet, it couldn’t be a better time to look at the slate of contenders and their wholly subjective odds of winning the prestigious Palme d’Or.
Cannes Film Festival
Of all the filmmakers showing in competition here at Cannes, few were more eagerly anticipated by cinema-goers and critics alike than French auteur Gaspar Noé. Perhaps that’s due to the fact that it’s been seven years since he last made a feature film — the excellent Irreversible, which debuted at Cannes in competition. Or perhaps it’s due to the fact that Noé only finished Enter the Void days ago. He was so late in completing it, in fact, that the screening had to be rescheduled to accommodate his tardiness — no time even for a black-tie screening.
Cannes Film Festival
Much in the style of his previous work like The Adventures of Baron Munchausen and The Fisher King, Terry Gilliam’s The Imaginarium of Dr. Parnassus screened for the press this morning. While the film fails to overwhelm, the standout performances by Tom Waits and Christopher Plummer make it an exceptionally fun ride.
Cannes Film Festival
No shortage of Inglourious Basterds news has made the rounds since yesterday’s Cannes premiere, but one nugget prompted some particularly interesting speculation from Quentin Tarantino: How close did his new WWII epic come to being scuttled entirely? That fate was nearer than the filmmaker expected at this time last year (or so he said Wednesday), at least until an unlikely hero came to his rescue.
Cannes Film Festival
Taking a well-deserved break from the Spider-Man franchise, director Sam Raimi screened his new horror flick Drag Me to Hell last night at the Cannes Film Festival. Shown here at this morning’s press conference, where he had some fun with the festival’s official name tags, Raimi joked further — maybe — about another bloody fest sensation making the rounds this week.
Cannes Film Festival
While Quentin Tarantino’s Inglourious Basterds takes a look at how World War II could have turned out if his characters had actually existed, wildly inventive Austrian auteur Michael Haneke’s brilliant The White Ribbon takes a look at how World War I saved a German town from self-destruction.
Cannes Film Festival
On a warm, sunny afternoon at the legendary Hotel du Cap, about 30 minutes outside Cannes, Willem Dafoe sat down to discuss Antchrist, the press, Lars von Trier, and why he didn’t notice much acting in his latest film.
Cannes Film Festival
At an overflowing press screening Wednesday morning, Quentin Tarantino’s much-anticipated WWII epic Inglourious Basterds premiered at the Cannes Film Festival to a group of less-than-enthusiastic journalists.
Cannes Film Festival
The Cannes Film Festival has reached its midway point, and thanks in part to Lars von Trier the second half has commenced with all cylinders firing. Common traits of the films screened to date — both in official competition and in the festival sidebars — include sweeping but bleak period drama (Bright Star, Agora, Vincere) and slice-and-dice bloodshed, some with titles to match (Vengeance, Thirst, Tsar, Mother, Antichrist). And though purely unintentional, the stakes heighten in the days ahead with premieres from Cannes veterans Pedro Almodóvar, Michael Haneke and Quentin Tarantino. But what’s getting the most buzz?
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